Lim Fei Shen

by Chor, Poh Chin

Lim Fei Shen (b. 1945, Singapore–)1 is a modern dance pioneer in Singapore. Both a dancer and a choreographer, Lee has produced works that show a creative blend of Western and Asian influences. She is also known for her multidisciplinary projects that involve different genres of art as well as artists from different disciplines. For her contributions to modern dance, Lim was awarded the Cultural Medallion for Dance in 1988.2

Early life and careerLim studied at Nan Chiau High School. She was a quiet student but her teachers encouraged her to take part in various sports and cultural activities. Lim enjoyed dancing in particular. Through the extracurricular activities, Lim got to know Huang Qiu Tan from the Singapore Amateur Players (now known as the Arts Theatre of Singapore), who pointed out to her father that she had a talent for dance. Lim then went on to learn ballet at the age of 16 at the Singapore Ballet Academy. Her classmates at the Academy included Goh Soo Khim and the late Goh Choo San, both of whom would later become renowned dancers and choreographers.3

After her graduation from senior high school, Lim’s parents wanted her to go to university. However, Lim wanted to study dance overseas.4 She left for Germany and studied music and theatre at the Folkwang Hochschule under the direction of Kurt Jooss, a famous German ballet dancer and choreographer.5 She graduated in 1969, finishing the four-year programme in two-and-a-half years.6

Upon her return to Singapore, Lim could not find work as a dancer. Thus she left for Hong Kong to work as a choreographer for Television Broadcasts Ltd. (TVB) from 1969 to 1970.7

In the 1960s and 1970s, the performing arts scene in Singapore was in its infancy. There were few opportunities for a trained modern dancer like Lim who wished to pursue an artistic career in dance.8 So when Lim returned to Singapore in 1970, she turned to commercial entertainment organisations for work. Lim worked as a choreographer for different entertainment related organisations such as the Neptune Theatre Restaurant, Hai Yen Ge Ju Yuan and Fan Ya Dance Troupe.9 Seeking to improve herself, she returned to Europe in 1978 to learn jazz dance.10

Lim’s hard work, persistence and talent did not go unnoticed. In 1980, she was appointed as choreographer and dance instructor of the National Theatre Trust. Subsequently, in 1985, Lim went on to become the artistic coordinator and senior choreographer of the People's Association Dance Company.11

In the early 1990s, Lim decided to pursue further studies in dance. She left for New York and graduated with a Masters in Fine Arts from New York University’s Tisch School of the Arts in 1992.12

In 2002, Lim joined the Nanyang Academy of Fine Arts as a senior lecturer with the Department of Dance where she continues her passion for dance through teaching and mentoring a younger generation of dancers.14

Artistic careerLim started her formal dance training when she was 16 years old. Subsequently, she went to Germany for further dance studies and was trained in modern dance and classical ballet. While in Germany, she danced with the Essen Opera.15

Though Lim had no opportunities upon her return to Singapore to work as a professional modern or ballet dancer, she did not give up. While working in the various commercial entertainment organisations, Lim chose to use what she had learned in a different way.16 During her time with the National Theatre Trust, she choreographed, danced and also conducted dance classes.17

As the artistic coordinator and senior choreographer of the People’s Association Dance Company, her works ranged from working on cha-cha style numbers for roadshows to modern dance performances.18 Under her leadership, the company became the first Singapore dance company to perform at the Maison des Cultures du Monde in Paris, France, where they received good reviews. Three of Lim’s works were performed: Xi Fang Ping, Tang Huang and Si Chong Zhou.19

In 1985, Lim was commissioned by the former Ministry of Community Development to choreograph a dance for the Asean Festival of Performing Arts. Together with Singapore’s multidisciplinary artist Tan Swie Hian, she co-produced a dance production called Tang Huang(A Glimpse), which was an Eastern version of Don Juan based on a story by Tan.20

A watershed period in Lim’s career was her time in New York when she was pursuing her master’s degree. The sabbatical affirmed her lifelong passion for dance. She gave many solo performances at the Tisch School of the Arts and the La Mama Theatre, a venue noted for showcasing experimental works.21

Upon her return to Singapore in the mid-1990s, Lim continued with her passion for dance through performing, choreographing and teaching at various institutes. Her notable works during this period include the critically acclaimed Homecoming series of performances.22Stylistic conventionsA distinctive feature of Lim’s choreographed works is the fusion of Western and Asian cultures both in terms of content and techniques.23 For example, cimo-cimo, a folk dance for social gatherings created by Lim when she was a choreographer with the People's Association Dance Company, incorporated traditional Malay joget hand movements, minuette formation and tiptoe steps.24

Chinese classics, such as Liao Zhai Zhi Yi (Strange Tales from a Lonely Studio)25and Wu Xing, the five elements of metal, wood, water, fire, earth found in Chinese philosophy, served as inspirations for some of her works.26

Another distinctive characteristic of Lim’s works is her interest in exploring and creating unique contemporary works through multidisciplinary collaborations.27 Artists she has collaborated with include composers Phoon Yew Tien, musician John Sharpley, as well as multidisciplinary artist Tan Swee Hian.28

An example of Lim’s multidisciplinary work is Homecoming: A Journey into the Space Within (1994), which blended live music and the visual arts. Lim performed her dance in a calligraphy museum where artist Ng Yak Whee had designed an installation. In conjunction with Lim’s performance, musician Sharpley played hybrid music that incorporated instruments such as the Balinese tingklik, a wooden xylophone, and the saron, an Indonesian musical instrument used in the gamelan.29

Lim sees herself as more an artist working with body movements rather than a dancer in the traditional sense. In her works, she prefers a more abstract form of expression.30 For her, a good dance is one that stirs the heart and mind of the audience.31

Awards321988: Cultural Medallion for Dance.

List of selected works331992:Eddies.1993:A Dance Through the Fire.1993:Garden of Earthly Delight.1994:Homecoming: A Journey into the Space Within.1995:Broken Birds.1996:My Body, My Choice.1996:Homecoming II.1997:River People.1998:StairWaltz.1998:Prayer.1999:Earth and Matter.2000:Strange Attractor.

Appointments341995–: Arts resource member for the National Arts Council.2000–: Arts consultant for The Necessary Stage.

The information in this article is valid as at 18 February 2014 and correct as far as we are able to ascertain from our sources. It is not intended to be an exhaustive or complete history of the subject. Please contact the library for further reading materials on the topic.